Comparison between Leopardi and Montale, Leopardi Read the article by Franca Spinelli
"Leopardi and Montale"
and to Loretta Beavers
"The eyes and the look in Leopardi and Montale " difficult heritage: voices of the twentieth century compared with Giacomo Leopardi myths about human (Liceo Fermi)
What
James Leopardi
since the nineteenth century has been considered a cornerstone for the construction of Italian national identity is beyond dispute: the poet-philosopher has been included in all the canons of Italian literature developed since then, as has often found a place - certainly less than they deserve - in the history of thought. How Foscolo and Manzoni, his philosophical depth
is deep, its poetic language reaches a state not to forget, the bitter wit of his prose is often still capable of bared vehemently many deceptions of human life.
not only all his themes are very modern speak with force and also to present generations, but, above all, took to the origins of modern elements to be developed fully understood only in the late nineteenth century and especially in the twentieth century.
This is the path we have chosen, with the LC 5, to follow for our research, asking who they were, in the difficult twentieth century, the "heirs" of that uncomfortable thought his
of that his lucidity
no return, that his ability to look at the bottom of this and the "customs of the Italians" with the insight of an anthropologist and to grasp its limits, the ephemeral and contradictions
to demystify the myths or stereotypes of progress and collective happiness. We created the world to death, Leopardi said in words that seem to anticipate Heidegger: assumiamocene awareness, assumiamocene responsibility. We do not sell illusions easy.
After the enthusiasm positivist thought of the twentieth century opened a crisis that, in Italian literature, is expressed in some key figures:
Luigi Pirandello
, harsh critic civilization of machines, the company that forces us to masks; Italo Svevo , whose apocalyptic vision is perhaps what is more, among all, denies any possibility of redemption; Eugenio Montale , in the hope that a "gap", a possibility of salvation offered by civilization against barbarism totalitarian (between Used and Blizzard and other ) arrives at a look at a bleak and sarcastic modern world and shapeless mass- Satura in rhymes, the same look that pushes Pier Paolo Pasolini to attack and fierce indignation against the cultural homogenization that, after the U.S., Europe and Italy invaded the boom. But the legacy of Leopardi is not only the unveiling of the crisis: its message of resistance show speaks with the voice of
Elio Vittorini
that from the pages of the magisterial " Politecnico "urges us not to surrender, to seek a culture comforting but not combative, able to act in the world, a kind of neo-humanism that permeates pages critical Italo Calvino , studying what forces and resources, internal and group opposed to the disintegration of the contemporary world, in danger of sinking into hell, where the maze challenged . Here are the "heirs" of Leopardi: those who, among others, have collected his words aimed at building an Italian identity rhetorical or not in the sense most obvious of the term, but as construction of
a critical awareness based on a deep and shared culture, a society "narrow" capable of process it and place it on the basis of authentic values, on an awareness that the human condition requires the acknowledgment of unhappiness
the gesture and then, heroically, to accept and oppose
values \u200b\u200band solidarity. In a word, that human dignity in the great Recanati denounced with heartfelt words just hours scouring the desolate lack in our country. Rossella D'Alfonso (Professor of Humanities Lyceum Fermi)
Leopardi intellectual "pirate"
One of the crucial contributions Giacomo Leopardi national identity is the construction of a critical spirit shiny and disenchanted, which he develops in the course of all his works.
In
recantation to the Marquis Gino Capponi , reusing already used in the operetta style Dialogue and a friend of Tristan , Leopardi pretends to accept the customs and ways of thinking of the society of his time criticism from within, using the '
irony, those costumes and those thoughts. He rages against
a series of myths of the society of his time source of enlightenment, which contrasts with a critical attitude. The main myths against which he rails are conviction of omnipotence of man over nature, the veracity of the claim to know that the newspapers circulated , considered false by Leopardi, as the present age of 'Gold and technological progress and moral they believed.
Then, turning his eye on the Italian situation, criticizes the costumes and then joked about how there is even in the motions of stereotyped Carbonari and progressives in general that proliferated in that period. A more comprehensive critique on the Italian people is Speech in the present state of morals of the Italians
, text in which Leopardi
carry out a harsh condemnation of the Italian company early nineteenth century. Here on the premise that in all "civilized nations" are witnessing a weakening of morals. Other nations, however, have a society that is based on an intimate relationship between people requires mutual respect, and that stems from the need to be estimated, that ambition, that in former times took the form of the desire for glory, while in contemporary Leopardi produces the poorest sense of honor. It is therefore important to public opinion, which replaces the moral principles which have been lost in appearance and is in "good tone".
He then criticizes the customs of Italy, like other nations devoid of moral foundations, but also deprives the company's "close" that generates the need to estimate . In Italy the opportunities for companies are quite moments of conformism and aggregation: there is a vague idea of \u200b\u200bhonor, there is a great indifference, life has no substance or appearance, it gives weight to the "trifles" and not to important issues. In Italy there are habits rather than habits and customs followed for addiction rather than inner conviction.
For these reasons, even in song
Above the monument to Dante, who was preparing in Florence, Leopardi prefers the company moved from its ancient poet.
The criticism of the myths in this
recantation is also found in Broom at the end of his life, where Leopardi denounces the transience of things and the overwhelming power of nature
on everything
duty Man is, therefore, accept this fate and to resist bravely . The work also contains a critical Enlightenment, which from a scientific point of view revealed many situations, but it is wrong to believe that we can comfort the man with the latter. Even in songs also more focused on emotions we can find the insistence of the impossibility of personal happiness and therefore the collective thought that contrasted the tendency of the Enlightenment still rampant mold.
Thus, in moral
Operettas, there is a strong criticism of the myths of society also joined by the themes of boredom and unhappiness of nature. The myths are the target of criticism Leopardi truth advocated by the company nineteenth century defined by him as a deceptive myth of progress, the anthropocentric illusion of human power over the world, costumes and ephemera conformists and in particular the following fashions.
The message that comes to us is therefore
disillusioned acceptance of the human condition , el ' call for a pact of solidarity unyielding resistance.
Jiniththa Ganesalingam, Lorenzo Lelli, Vason Stefano, Michele Zappoli - 5 LC
Pirandello: critical to the advancement and awareness of today
Already in the 90 century Pirandello is aware of the crisis of the society of his time: in 1893 publishes the essay
Arts
and consciousness today, on 'art as a mirror of the crisis
, where he puts into question the basic assumption of positivism, arriving at a relativist subjectivism:
is not a reality, but is seen differently by each and likewise we are not individuals but a set of identities, as many others there attribute. Of company he captures the contrast that exists between life and the shape that society imposes, which may produce insanity. The essay begins with an analysis of certain literary works, in which one can detect the "hallmarks" of his time: in particular a return to the ancient faith, for "the modern spirit is gravely ill , and invokes God as a repentant dying . Even critics increasingly tend to view works of art as a fruit of sick minds, even when the second photographing what Pirandello is lost: the love for nature. In fact, with our thirst for knowledge we lost the ability to see the world for what it is: "I'm not made for us the spring," he says, approaching the idea of \u200b\u200bLeopardi that man is destined to not want what you can never have. The man knows very well the nature, but is not satisfied, because it is at the heart of it: he found himself suddenly lost and the collapse of the myth of anthropocentrism (see already the leopard "Copernicus ") led the men to lose their sense of their lives. Although it had the merit of revealing some illusions, science has destabilized the man without giving him a solution to his misery, and indeed because of him, he finds himself without divine support, with the only possibility for bestializzarsi not think. Thus, the belief in the principle of causality leads man to
responsibility away, and raises the question of whether and which can be ethical.
But how do people react to the crisis? If the old are restored to the ancient faith, but young people are confused: some do not ask themselves, others live in the eternal indecision, visible through the fashions and tastes of society, others engage in a doomed attempt at isolation. This indicates the loss of a sense of life, the 'contemporary inanity " (Of which Leopardi had caught the first traces). Is so far to achieve the ideal, since the man will never achieve complete happiness. It is however necessary to find a meaning to life. The
progress, which would free him from manual labor, not only did not give him happiness, but it has reduced to a mere appendage of the machine and the man condemned to 'alienation
and approval, is devalued, especially with respect to material things, so that, in this case, Leopardi had already planned. L '
art of tomorrow, which some would carries the value of progress (we will return the same last Pirandello production), but since it must "be born spontaneously from the feeling, can not help but reflect
crisis. The Poetics of humor of the years 1903-04, which culminated in the 1908 essay, The humor emphasizes the ontological tendency of art to reveal the humorous self-deception that man is created, continuing on the path already beaten by Leopardi: here, of all self-deception, that against which he rails Pirandello is more infallibility of science and progress, as it emerges In the essay "Art and science: the art must not be interpreted with the category of science, because it is a world unto itself and the scientific mind is not the only possible, but one of many. The historical view of humor then used to identify the principle of the need to create self-deception in the fall of anthropocentrism Ptolemaic views with the consequences.
The Poetics of humor, which goes through the time of departure from observed reality and reflection upon it, becomes an expression of literary
philosophical relativism, which denies the concepts of unity and objectivity. For this many characters of Pirandello's "watching live." But it is especially in "Notebooks of Serafino Gubbio Operator" Pirandello criticism with the ferocity of modern civilization and progress that dehumanize man: the protagonist is doubly alienated, because its job is to make "an extension of a machine," which in turn is at the service of a world which is purely illusory film - whose values, which are identified with those of the future, namely speed, aggression, violence, rejection of the culture, are totally opposed to those supported by Pirandello.
Richard Belluzzi, Chiara Lorenzini, Marco Turrini, Simone Zocca - 5 LC
Svevo and society "sick"
dell'inetto the form par excellence, unable Alfonso Nitti. This inept evil lives, a relationship with reality is mediated by their frustration. It is his personal ruminations led him to live even worse. There is only one possibility to give meaning to life: the letteraturizzazione of life itself.
The writing is the outlet of neurosis . The living part of life is written. Already in this Italo Svevo approaches Leopardi. In particular the last Leopardi, one of Ginestra, which seeks to give meaning to life through poetry (as Ginestra gives its fragrance to ease the pain, so the poet gives his poetry). Alfonso fails both as an ideology, both as a literary rebel. Leopards are some fundamental links with the wretched humanity, the intellectual high situation almost completely inhibited by mass society, the fight impossible dell'inetto against his nature, the decline of intellectual functions in mass society . The difference is that Leopardi Italo Svevo never gives a positive role model or just , which is in fact a true hero of his time. Even Macario, Alfonso mirror, is seen as negative aspects, again throughout the novel. The literature is no longer regarded as a higher value, nobility of spirit, but it is degraded to board games and an instrument of seduction, and there is no escape from this sick society: neurosis is a symptom of detachment reality. Even Senility as A life, focusing on a inept. But the difference is that Emilio Brentani
despite still being a writer is not opposed to more "normal" in the name of a liberal arts education, but rather bourgeois habits
accepts and conforms there. I-society opposition, the previous literature-life novel that follows the entire inner desire and repressione.Da cowardly and incapable he is, Emilio dreams of leaving the nest and enjoying the pleasures of life through the figure of Angie. However, it will be right in the relationship with Angie - Emilio substantial relationship with reality - that will emerge ineptitude and immaturity of the protagonist. In fact, Emilio criticizes the society he lives on the ground who can not marry the girl but in reality I'm very scared about sex and women, to the point to be transfigured into pure and angelic figure, from which however Angiolina surface vain and a liar, is infinitely far away. So even literature and philosophy to serve as a means of defense to its inability to live and how mediation compared to the real . Inside de Confessions of Zeno, self-analysis of the main character breaks down the critical situation in which lives and especially the upper-class world of business and finance. The reality bourgeois, who represent themselves healthy, is exposed as ill through a reversal of the relationship between health and disease, for which the main character believes he is cured because, becoming a war profiteer, was inserted between the supposed "healthy" but they are just leading the world to destruction described in the 'last chapter of the novel. These final pages are highly complex and contradictory because on the one hand Zeno claims to be cured, but the other states that man is inevitably doomed to destruction and extinction
,
precisely because of civilization as he has designed and built . The alleged recovery of the main character is attributed to a single cause, the "market" that is the speculation of war that starves the weakest. The conclusion is that the man is sick because without hope, to feel healed, it must assert itself against the other: the healing of the individual then proceeds hand in hand with the destruction of humanity. The final message of the work therefore is a terrible indictment humanity and takes the form of a prophecy of disaster for the future, by which man seems to have no escape. E 'therefore possible to identify a strong debt to the thought Leopardi, whose pessimism and critical to progress and which company seems to have deeply influenced the thinking of Svevo. Jiniththa Ganesalingham, Lorenzo Lelli, Vason Stefano, Michele Zappoli - 5th LC
Vittorini against a culture comforter
Vittorini is considered the master of the "new realism" and the post-war neo-realism. His is a realistic experimental array with a lyrical and symbolic, surrealistic home with turmoil. He brings in Italy the "myth of America" \u200b\u200bthrough the assimilation of American realism and the dream of humanity total, of which one can capture the essence through art. He joins an unquestioned faith in literature
commitment to a political and ideological
, you can pick up two points, two souls in this writer: that of the scholar and the ideologue.
The same Vittorini seeks a balance between these two aspects and reconciliation must be sought in writing and shall be entrusted to the strength of this message. There is a permanent oscillation between literature and politics, a symbolic element and ideological, lyricism and realism, between "myth" and "history." He ran a newspaper, The Dummy
, which provided an opening to the neoavanguardia, famous for his "flair for the new" and was born at the Einaudi publishing house represented by Calvin in the magazine. Vittorini did in this case the role, before the change of its period, questioning the role of literature in the universe of technology. The various publications occurred between 1959 and 1967. In the magazine debated several intellectuals on various topics including
comparison between language and dialect, the narrative
of war, the southern
narrative, the contrast between literature and industry and role of youth in society. The writer is especially interested in a debate, essay writing and literature Industry which accuses the contemporary writers of backwardness, reproaching them to continue to look at the industrial reality with the eye with which it came.
Vittorini intellectuals accused of presenting itself as the bearer of a new culture, he said, citing passages in which he and those of the newspaper define their ties with the old culture, which, However, they want to distance themselves. This is because the very fact of belonging to the old culture feel inefficiency and misery to belong and feel a strong need that if you create a new one. After receiving this response, the intellectuals will be aware of being in error and is not compiacquero nor, however, justify it.
Vittorini never spoke with the attitude of a man of culture academy, he studied it on his own and did not read or the letters of Marx, Lenin or Stalin until his accession to the PCI. He began the study of Marxist texts, but nevertheless do not regard this as a true Marxist because it was not enough to become convinced that to know, but live according to its principles and contribute to its evolution. Hence his initiative to write for The Polytechnic
and raise discussions on the subject, convinced that "
not talk and discuss means to know the truth, but look >> This was his contribution to Marxism.
Politics and culture are undoubtedly linked, however, must be distinguished. This fact, if independent, may give aid to the policy, while the No. politicized culture must be understood as the way of research, which gives life to politics, must be understood as a culture that seeks contact with the cultural level of the masses of fostering action. The story is then directed by politics and not by culture, although they are closely linked . In fact, in the revolution, culture and politics is a lot like, but woe to confuse them: the former must remain a research and speak to the masses through politics. The culture wants a revolution, is in constant search for a development that changed the world: \u0026lt;
The politician has to interact with the culture through political and cultural criteria and not the student is to differentiate the policy (ie the life of an author) from culture (the his works). Being a revolutionary does not want to say, therefore, necessarily produce revolutionary culture, the poet produces culture through what he feels, not to celebrate the politics, because the object of this is the thought of this, while culture is the thought looking to the future evolution of .
Filippo Carnevali, Ilaria Cataldo, Chiara Fazio, Vasco Valenti - 5 L / C
Pasolini: approval and vital impulses
In a period from the 50s the mid-70s, offering an interpretation similar to that made by Horkeimer in the 40s, who had followed the process of transformation of society leading to industrial capitalism in the United States, Pier Paolo Pasolini prepare a critique of mass society in Italy, which recognizes the main features in the triumph of the individual, hedonism, in individual well-being, staff and society of the means and not ends. Just the mass society, for Pasolini, with the defeat of traditional values \u200b\u200band institutions of the classes and who were carriers (including the Church, the historical fascism, the Communist Party) is the cause of type and behavior of individuals. In "Acculturation and acculturation" (1973) declares that the industrialization that is stated in the new company no longer satisfied with a man who consumes, but claims that no other conceivable that the ideologies of consumption
.
Pasolini recognizes that the values \u200b\u200bin history have never been universal, but representative of a certain conception of the world, however, as despotic, these values \u200b\u200bhave always represented the highest aspiration of self-preservation: the loss of these myths has caused hours a denaturing, a general loss of vitality. Intellectual pirate because it moves only in the enemy camp and isolated
, Pasolini is not an illusion: he knows that there is no turning back or regretting what was that identifies two ways out of a possible
cultural revolution (assuming that the approaches Vittorini) or
in
civilization of capitalism from within. His analysis can sometimes be a bit 'one-sided or biased but has the great merit to blow up in his eyes that what is common to all classes is the advent of a new power that reduces the Italians to a single model, namely a new middle class: from This jump follows that all categories of right / left response / progress, fascism / anti-fascism. For Pasolini " the power needs of a new type of subject that is primarily a consumer ", for which this uniform makes a real cultural genocide. Some, including Marquis, the aforementioned Horkeimer and Marx in the previous century had understood all these trends, but is only now that this process comes to fruition: Pasolini also realizes this through its experience, and this is comparable to Leopardi. The conflict between public, private and role of experience assumes great importance here is the condition becomes a personal way to reveal the conflicts and upheavals of mass society, and the transgression of bourgeois values \u200b\u200b the only alternative to the laws of the system.
The Corsairs writings are a critique of the intellectual reality without irony (and this is different from Leopardi), of a rationality that looks like a indictment, his essay is a political emergency : This is a collection of books and articles that make up a real book around a few main themes, of which the author relies in the foreword of the reorganization and the connection to the reader. Language is the field in which Pasolini, with the largest effects of the anthropological revolution: the historical absence of a national language in Italy accentuates this process including television, science and technology are the major causes: these are the basis of reorganization of language codes and of '
impoverishment of language. In this framework, the writer's task is to move away from the medium, and, as then he will Gadda, writing in a language that at times the top popular treatment, hence descends to a positive reference
vital impulses of the people, an alternative to economic ruthlessness of capitalism. In an article entitled "the limited history and vastness of the rural world" (1974), addressed to Calvin who accused him of regret and the Golden Age quell'italietta "petit-bourgeois fascist Democrats" after denied having anything to regret, expresses its concern over the disappearance of peasant culture and the 'age of bread "so today conformism crosses the boundaries of social classes and regions, as well as the consumption necessary to make the necessary life, Today, consumers make life unnecessary superfluous by the type that makes people unhappy or frustrated you saves only the elite, which is restricted to the society of which he said Leopardi.
Frascaroli Giacomo, Luca Gentile, Nicholas Lewanski, Valerio Paselli - 5L-C
Montale: The irony about the new epistemic
is the fourth and final book in Montale's poetry, which is located in a historical and social context very different from what had been the backdrop to the previous collections. In fact it is ten years after the implementation of the "Blizzard", the years when he opted for silence Montale poetry because of "loss of form" in industrial society and its aftermath. Next to the elaboration of mourning for the death of his wife, the protagonist is also the
swipe at the current world
. Montale describes a company whose beginnings were taken more than a century earlier by the 800 greatest poet: Giacomo Leopardi.
The only possible society of modern poetry is conscious of living in the age of prose. The non-poetry is the poetry of So Satura . In "society oxymoron" and "the triumph of junk
is no longer possible to distinguish between true and false values, between high and low, between right and wrong. Here is a poem inclusive, accepting and collect any type of material reworked from a poetics that increasingly tends to bottom, the prose and satirical. The recovery of the multilingualism of the "Blizzard" is therefore the service of an attitude
ironic, parodic and desecrating , often bitterly amused. this criticism to all the myths and misconceptions of the new century did not spare even his previous production. Satura fact is also a great self-criticism same Montale. The wife "Moscow" is taken as an example of adaptability to the "triumph of trash." Just think again derives from his lecture the poet through a continuous quotations of his earlier works he demystifies the values \u200b\u200bon which he had pointed illusory as all intellectuals, self-deception.
There is no truth in the past, as there is no hope for the future : Satura in dominates the absolute authority of the present. Emblematic of this view are "Auf wiedersehen" and "History", poems that have a melancholy reflection that captures the profound contradiction of our time. These compositions of soft tones and are resigned to a shocking complaint against a company
of platitudes, false myths, now prevailing in his time and which Leopardi had just caught the first dawn.
The story is then live the present, denying any kind of causality and presenting it against the claims of idealism and Marxism, as a result of events in which the "before" and "after" is a chronological accident and nothing more. In this disorder, what then is the last position of the poet? Ironically, he concludes, in his poem "History", claiming to be a "survivor": in the end managed to find a chink in the network of overwhelming events. The last lines of this poem leads to a reflection that also takes into account the poetry of Leopardi, about the conception of history and of the proper relationship between man and time. But while Montale identifies as the only possibility of salvation to escape from the power of the story that everything accumulates, leaving few survivors, the poet instead of Recanati sees nature as an enemy main of men. The time is dictated by the cosmic laws that inevitably captures the man and imprison him in a hostile landscape. Leopardi already foreshadows what will be the focus of many of the authors of the twentieth century poetry, particularly of Montale: the individual becomes the enemy of modern society, however, that the barren landscape where the story becomes a trail that takes you away all values.
But this time is the dominant
Satura also at another level. To highlight the fact are constant references to events and contemporary ideas described and derided by virtue of what they represent: two splendid examples of the journalistic Satura
are the poems "Fanfare" and "Rain", that take as direct object customs, feelings and beliefs prevalent in our society, which dominates the absence and in which rains hopeless.
face of this disaster, we Montale "calm" with terrible irony, entitled "Nothing serious," a poem that describes the subdued tone and apocalyptic tragic end to which all humanity is bound. In this world whose creation is compared to a random lottery and extraction is therefore inexplicable "fatal to those born on Christmas"? And what is the crack that Montale leaves us to go forward, stubborn as a broom in the desert? The answer to these questions can be found in poems like "In the smoke," where a "memory like so many others," his wife's love survives stubborn. This is the miracle of Satura
:
in each value of winds overturning a note of poignant grief , of heartfelt regret persists, however, where our humanity . In the joy for the arrival of his wife, Montale is separated from that cold and dark landscape of the present to project into the fire then, which, though smothered dall'inclemenza of the new times, still burning, still alive. Alessandro Berti, Nicola Pedrazzi, Francesco Roffi, Giovanni Battista Saccone - 5 LC
Calvino: the challenge of the maze
Italo Calvino has sought throughout the living a moral or rational response to a labyrinthine and incomprehensible world. To accomplish this goal took her several streets, always accompanied by a strong taste for ' rational inquiry. The roads were: a "commitment" post-war science semiology and a pessimistic sense of helplessness while preserving the art and values.
Two major essays written in 1959 and 1962,
The sea of \u200b\u200bobjectivity and The challenge of the maze, show a direct encounter with the new French novel and theories of neoavanguardia: Calvin still believe the possibility of studying the complexity without overwhelming to do with it, in fact, keeping alive a rational and moral commitment, which aims to transform reality.
It The challenge of the maze the writer responds to the ratio of industry- literature: it was necessary to look for the "marrow of the lion," the basic nourishment of which the writer needs to have a healthy body and vigorous in order to be strong and not surrender
. The moral he was trying to be a response to the lack of ideals and a literature to negative. The message is to live the contradiction of reality, enter the maze, to understand the mechanism and make sure that everything takes place within it. Only through
culture, which is the 'weapon of reason, you can defeat the culture of the absence, since art is the "gap through which to fight back." Calvin's interpretation of the labyrinth becomes very similar to that of the meander: the man is looking for a center that apparently does not exist, but in fact goes found. The same issue is addressed in Ocean objectivity, an essay denouncing, in fact, excessive objectivity neoavanguardia proposed by the literature and talking to the reader that we must seek a power to shake the waters of this "sea". For the writer, the looming threat is "the loss of the fallen in the undifferentiated sea of \u200b\u200bobjectivity, without which there is no more room for subjectivity" . Both the figure of the labyrinth and the sea are considered places of loss and the way out, the solution that the writer is a map, the result of an inalienable condition: if the man is a huge maze, it is necessary to explore it all, just know its smallest element, a fold, a microcosm. This is, in fact, that seeks to analyze: the bend and the unfolding of the human soul. "The literature of objectivity to the literature of conscience" in the words of Calvin himself. His vision is certainly not optimistic, however, gives way to hope and possibility to move from "Labyrinth", the "sea", to better understand the man and the society in which it is inserted. The labyrinth, in fact, is not only humans, but has a double meaning, as it is also a symbol of Indeed, the social context. The solution, the map is valid not only for learning how to learn more about the individual but also to understand the reality around him. The period in which Calvin wrote the last Memos is where the intellectuals were a lot of talk that was to close the book and thousands of us wonder about what could be the fate of literature in the technological post now commenced with these lectures Calvino was meant to give its contribution to the debate, taking stock of what he experienced in his long, uninterrupted writing exercise. In his works earlier the writer had spoken often of the role of the story and the threat to the world that can come from computers, for example. Several times in the stories he had written in the past, the author, had prefigured the invention of computers that provided a series of elements, were replaced at the same writer, creating the story with their combinatorial skills. With these lessons he wanted to first say that Calvin had
confidence in the future of literature, because there are things such as emotions
, only she can give, and he wanted to dedicate the conference just to those in its path was found to be the quality of literature, trying to lay the groundwork for their continuity in the new millennium. Calvin has identified these qualities in the Light, Speed, Accuracy, Visibility, Multiplicity: these testify to the research on the world of the story that the writer felt he had not yet completed. Filippo Carnevali, Ilaria Cataldo, Chiara Fazio, Vasco Valenti - 5 LC
true value and virtue, modesty and faith love and justice, always in any
public status, all aliens and far
Da 'joint shops, which will be around
Unfortunate, afflicted and losers;
(G. Leopardi
from
recantation to the Marquis Gino Capponi)
"In the modern conscience gives me the image of an anguished dream experienced rapid larvae or sad or threatening, of a battle night, a desperate melee, in which s'agitino scompajano for a moment and now, for the reappearance of the other, a thousand flags, on which the opposing sides have been confused and mixed, and each batch for himself, to his defense against friend and against the enemy. E 'in her continual clash of discordant voices, agitation continues. Seems to me that everything she trembles and wavers. In the calm confidence of some people happy I think not. What will happen tomorrow? " (L. Pirandello
from
Arts and consciousness today
)
" And another man also made him like everyone else, but some of the other 'sicker , will steal that explosive and s'arrampicherà the center of the earth to put it at the point where its effect may be the best. There will be a huge explosion that no one will hear, and the land returned to err shaped nebula in the skies free of pests and diseases ( I. Svevo, Confessions of Zeno by )
'Society culture because culture is not and society. And the company culture is not because it has eternal renunciation of "render unto Caesar" and because its principles are only comforters because they are not promptly and effectively renovating existing, living with the same company as the company alive. We could never have a culture that knows how to protect people from suffering rather than simply to comfort? "( E. Vittorini, from the" University ")
" The cultural model offered Italians (and all men of globe, for that matter) is unique. The shape of this model has primarily lived in, in existentialism: and then into the body and behavior. And 'where you live the values, not yet cast, the new culture of consumer society, namely the new and more repressive totalitarianism that has ever seen, "
July 8, 1974 (P. Pasolini
,
limitations of history and vastness of rural
from
Writings Corsairs
) Auf Wiedersehen Hasta la vista, à bientôt, I'll be seeing you,
[Appointments
ridiculous because we know that those who have seen we have seen.
The truth is that nothing had been seen
and an event that never happened.
But this deception would be inexplicable without the arduous
speculation that aims to reform
being re
pleonastic where
missing form.
(
E. Montale, Satura by )
"Stay out of those who believe they can win the labyrinths to escape their difficulties, and it is therefore irrelevant that a request is made to the literature, given a maze, to provide its own key to get out. What literature can do is to define the best approach to find the way out, even if this way out will be nothing but the passage from one maze to another. It is the challenge the labyrinth that we want to save, is a challenge to the literature of
labyrinth that we want to identify and distinguish the literature of the maze made
(
I. Calvino, A stone above )
Bibliography:
Ø
G. Leopardi,
Discourse on the present state of morals of the Italians
(1824
)
. Ø G. Leopardi, Operettas moral
Ø G. Leopardi, Canti (
Last song of Sappho, Brutus less, finally, the evening of the Sabbath, Silvia, remember them, I sing of a night wandering shepherd Asia, The calm after the storm, the thrush, On Saturday the village, to himself; Up the Monument of Dante, Ad Angelo Mai, Italy, recantation to the Marquis Gino Capponi, La Ginestra, or the flower of the desert.)
Ø literary criticism: a) E . Raimondi, Literature and National Identity , Milano, Bruno Mondadori, 1998; b) of the Italian classics
Breviary, c. GM Anselmi, A. Cottignoli and E. Pasquini, Milano, Bruno Mondadori, 1996; C. Galimberti, voice Leopardi, Giacomo in Critical Dictionary of Italian literature , c. V. Branca, Torino, Utet, vol II, 1986; Ø L. Pirandello, The Late Mattia Pascal , Humour, Art and consciousness of today, Arts and Science
Ø I. Svevo, A Life , Senility, Confessions of Zeno
Ø E. Montale, Ossi di sepia , Opportunities, The Storm and other, Vivid (choice)
Ø PPPasolini, Writings pirates
Ø E. Vittorini, selected articles from the "Politecnico"
Ø
I. Calvin a lid on it, Memos
